We set the workflow, create, organize and store both the original footage and the dailies while you are shooting, so you can start the editing right after the shooting with no waste of time.
With the new digital cinema cameras, the raw footage is usually difficult to move in editing and the image is flat and desaturated. That is nothing like what the DoP has in mind. That's why it is crucial to transcode those files and color correct them so the editor can work off line with them easily.
Both on set and in post, we process the footage for screening and delivery to the editing department. We transcode in different format so we can share the footage with different devices, applying at the same time a provisional color correction so the image gets closer to the final result the DoP has in mind. We also send it straight to the editing room with the format that suits best the project, according to the editor.